Military Music And Its Story - online book

The Rise & Development Of Military Music

Home Main Menu Singing & Playing Order & Order Info Support Search Voucher Codes



Share page  Visit Us On FB

Previous Contents Next
BANDS OF MUSIC.                                65
Kappey, in his "Grove's Dictionary" article on the "Wind-Band," is scarcely just to our military bands of this period. This is what he says: " England having in no way contributed to improve or even in­fluence the progress of wind instrumental music, we have of necessity to pursue its course on the Continent, etc." Now this is not true. Kappey, being without data of the military music of the period as he practically admits when he says: " It is difficult to trace the introduction of military bands into the English service"), wrote the above to relieve himself of the necessity of explaining the hiatus in his his­torical survey.
In 1896, Breitkopf and Hartel published an elabor­ate edition of the "Music at the Prussian Court" (" Musik am Preussischen Hofe"), collected from the treasures of the Royal Library. Among them are several English marches and pieces for military bands. It appears that these were sent over to Germany, with other specimens of English music, including the works of Handel and J. C. Bach, on the occasion of the
version so serious that he recommends a return to the diapason tone, which was in vogue before the "military" got hold of the instrument. Now, I am not going to contest the state­ment any further than to call attention to that formidable passage for the trombone in the "Chorus of Furies" in Gluck's "Iphigenia in Tauride" (1779). This opera was written before the trombone came under the "doubtful influ­ence" (vide Mr. Case) of the military, and yet who can imagine this "terrific scale" as Berlioz calls the passage in question, played diapason!
10
Previous Contents Next






E-Book - An Annotated Compendium of Old Time American Songs by James Alverson III